The Significance of Ai Qing's Poetry to the Development of China's New Poetry

Ai Qing's poetry abandons the rhythm of old-style poetry, follows the rhythm of modern life and has a relatively free formal structure. Ai Qing believes that if a poet wants to express his feelings and experiences about life freely, he must get rid of the shackles of appearance and choose flexible and open free poems. Of course, a free body is not infinite freedom. He believes that form has certain principles: "to achieve unity in change, harmony in mistakes, balance in movement, simplicity and freedom in complexity and become a constraint." His poems are either free or unrestrained in certain rules, such as a passage in "Wild Goose River"-My nanny: Wild Goose River has gone away with tears! With more than 40 years of human life bullying, with the misery of countless slaves, with a four-dollar coffin and several bundles of straw, with a few feet of burial ground for the coffin, and the ashes of paper money in one hand, she went to Dayan River with tears in her eyes. There is no neat antithesis, no sonorous rhyme, no touching words. But in the repetition of the first and last lines and the parallelism in the middle, what we see is a squeezed, miserable and slave-like mother. This is the poet's "curse given to this unfair world", and it is also a tearful accusation against the dark old society, revealing the suffering and indignation of that era. In another poem "Snow Falls on the Land of China", Ai Qing did not deliberately outline it, but described such a scene with seemingly casual but implicit brushwork: the wind, like an overly sad old woman, followed closely, stretched out cold fingers, tugged at the skirts of pedestrians, and used words as old as the land, constantly ... In the poem, the poet said to ". The image of poverty in that era, however, is like a chain that connects these irregular and scattered sentences, which has strong artistic charm and is shocking. This kind of irregular poem has an inherent sense of melody, which writes people's sufferings with profound language and content and stimulates people's artistic imagination. It can be said that Ai Qing's freedom in form provides all kinds of convenience for the shaping and expression of "images" in his poems. In the North, Paris, Marseilles and other poems, poets use a lot of details to enhance the realism of the scenery depicted in their works, giving people a feeling of wildness. In his poems, such as Towards the Sun, Spring and Pond in Winter, the poet uses a series of metaphors to advance step by step, strengthening the theme of the poems and giving readers a strong associative space. In his poems such as Revelation, Beggar and Wilderness, the poet uses colorful, noisy and energetic pen and ink to outline the characteristics of the object, which makes his works dull and three-dimensional. This literary style of Ai Qing's poems is exactly the "beauty of images" he emphasized. He believes that "the rhyme of a style called' poem' cannot be the decisive factor, but the most important thing is whether it has rich images-any good poem is immortal because of its images, but it will never be immortal because of its good rhyme". Ai Qing not only emphasizes the liberalization of form, but also pays attention to the colloquialism of language. He called for "oral writing as much as possible and' easy to understand' as much as possible". Because "spoken language is the most prose" and "full of human feelings, it makes us feel extremely cordial". He emphasized that the colloquialism of beauty should be based on simplicity, so as to achieve the realm of implication, clarity, simplicity and nature. Ai Qing used his unpretentious language to convey the call of history and the voice of the people, accused the dark rulers of intimidation and oppression, and reflected the bitterness of the people at that time and the depression of the times. Ai Qing sympathizes with the people, exposes the society and expresses his feelings in his own way. In "Transparent Night", he wrote: wine, lights, drunken laughter ... "Go to the cattle slaughterhouse to drink beef soup ..." "Go to the cattle slaughterhouse to drink beef soup" is as casual as we usually say "Let's go outside and play". But it is in this very casual and colloquial language that a wide range of meanings and rich images are embedded. Farmers are bullied and squeezed by "owners" like "cows", and their tears have dried up. In the end, it was even swallowed up by people. This is a deep sympathy for the people, but also a severe query and thorough exposure of the rulers. This is a profound spoken language from the depths of life, rejecting gorgeous pretensions and empty preaching, and adopting concise, lively, flexible and flowing words. Ai Qing's poems are slow and powerful in tone and unpretentious in language. His sincere call and anxious sigh mark the depth of history. Ai Qing's free poems have played a great role in the development of poetry, especially in the influence of July poets. Lv Yuan once said that "most poets in July grew up under the influence of Ai Qing", and they "tried to link poetry with people, the aesthetic struggle embodied in poetry with people's social responsibility and combat tasks". Ai Qing's poems are very obvious about the sense of the times and the reality of the poetry content. His poems show the poet's in-depth observation of reality and deep concern for the people's destiny, and reflect the people's demands and wishes. Guo Moruo's poems broke the metrical restriction of traditional poetry, developed free verse and pushed it to a climax. Ai Qing's poems emphasize the liberalization of form and the colloquialism of language. He further developed and deepened free verse and combined it with reality. Ai Qing's poetry is another peak after Guo Moruo's poetry, the peak of poetry art in 1930s and 1940s, and the symbol of the prosperity of free poetry during the Anti-Japanese War. This article comes from: